English synopses are available at the bottom of each page
Cet atlas est expérimental. L'objectif est d'étudier la manière dont la cybercartographie peut améliorer notre connaissance des territoires cinématographiques et, réciproquement, comment le cinéma peut inspirer la conception de nouvelles formes d'expression cybercartographique.
Pour étudier ces potentialités nous avons cybercartographié 4 films canadiens contemporains de différentes manières à travers différentes sections/chapitres:
- canadiens contemporains
- Cybercartogramme
Les données utilisées ont été collectées et structurées de manière
rigoureuse et systèmatique en 2007 (pour des cinémas en fonction entre 2001
et 2007 qui correspond à la période que nous étudions ici), mais il est possible que
quelques petites erreurs se soient glissées incidieusement dans nos bases
de données. Pour toute suggestion ou commentaire n'hésitez pas à nous
contacter
.
Remerciements / Acknowledgements
The goal of this
EXPERIMENTAL atlas is to explore how
cybercartography can serve to improve our understanding of Canadian
cinematographic territories and, how cinema can inspire new forms of
cybercartographic expression. Data used in this atlas have been
collected and structured rigorously. Nevertheless, if you find any
mistake or if you have any comment, please feel free to
contact us
.
Learn more about Canadian Cinema.
Cet atlas a été financé par le
Conseil de recherches en sciences
humaines (CRSH)
dans le cadre d'un programme stratégique
intitulé "Image, Texte, Son et Technologie (ITST)" et d'un programme
de recherche ordinaire.
Ce projet a été réalisé sous la direction de Sébastien Caquard (chercheur principal et concepteur de l'atlas), en collaboration avec D.R. Fraser Taylor (co-chercheur).
Victor Perichon s'est evertué à collecter les données pour le développement de cet atlas et a contribué à sa réalisation. Daniel Naud a réalisé les analyses géographiques à partir d'un Système d'information Géographique. Benjamin Wright a produit différents rapports (en anglais) sur les films étudiés et sur le cinéma canadien en général.
Jean-Pierre Fiset a développé les fonctions informatiques nécessaires au fonctionnement de l'atlas, avec l'aide de Glenn Brauen en ce qui concerne le son. Amos Hayes s'est occupé de la mise en ligne de l'atlas et de sa maintenance.
Nous tenons à remercier toutes les personnes qui nous ont aidé à développer le contenu de cet atlas et notamment: Deborah Tiffin (Film Canada Year book), Simon Beaudry (Cineac), Monia Bellisle et Amélie Leblanc (Alliance Atlantis), Pierre Larouche (Park ex, Production), Stephane Rituit (Isuma production), Mark Musselman (Serendipity Production), Christian Ruel (ONF), Mario Fortin (Cinéma Beaubien), July Papatsie (pour sa contribution orale au module dédié à Atanarjuat)...
Les fonds de cartes du Canada (à l'exception de la carte du monde du module Atanarjuat / Festivals) sont générés automatiquement à la volée par le Service de cartes Web (SCW) OGC (Open GIS Consortium) de l'Atlas du Canada.
Retour à l'introduction / Back to the introduction
Canadian cinema exists not only an art, but also as a testament to culture, commerce and politics. Historically, it has been difficult for Canadian film critics, scholars and audiences to reconcile the high cost of film production and the need for entertainment with the desire to satisfy Canadian artistic sensibilities and the need to tell distinctly Canadian stories.
Indeed, Canadian audiences have very few opportunities to see domestically produced films. Unique to any other developed nation, 95% of films screened in Canada are foreign (read: U.S.). Seen as a detriment to Canadian identity, would-be champions of a distinct Canadian culture argue that Canadians not only need domestic productions, but also ones that are uniquely and identifiably Canadian in content. The catch-22 of a domestic film industry has long been that, in order sustain an industry, Canadian films must attract an audience. In order to attract an audience, filmmakers need to produce films with mass-market appeal, such as high budget Hollywood genre films to which Canadians are accustomed.
In addition, because of Canada’s relatively small domestic population, these films would have to appeal to an international market so that the producers might screen their films in other countries. Unfortunately, this runs contrary to the desire for a “distinctly Canadian” film culture, and so government funded bodies such as the National Film Board of Canada and Telefilm are created in service to Canadian content. But what is “Canadian Content?” The questions of content and national identity remain the root of much of the debate surrounding Canadian film history.
The quest for Canadian content has fueled decades of debate regarding what is and is not “Canadian.” In the history of Canadian film discourse, the result has been articles and explorations that are more prescriptive than descriptive. Discourse on Canadian cinema has focused largely on negatively defining Canadian identity, defining Canadian cinema according to what it was not (read: Hollywood genres films) rather than what it was. Scholars, critics, artists, and politicians have all attempted to espouse the virtues of their vision of Canadian cinema, often vilifying or overlooking films and filmmakers whose works did not benefit the construction of a distinctly Canadian national identity. An overview of these debates can be found in Dorland (1998), Acland (2003), and Fulford (1975).
Despite the best efforts of artists, scholars and policy-makers, the pull for a distinctly Canadian film culture has rarely overcome the monolithic hurtle of audience attendance. Canadian audiences, especially English-Canadian audiences, generally do not attend Canadian films (Acland). Due to the high cost of film production, an independent or government-sponsored production company requires an audience for their product in order to recoup costs and finance future projects. If Canadian films cannot find an audience, then there will be fewer funds for other Canadian films. So how do you reconcile the need for Canadian content with the need to attract audiences?
Back to the introduction / Retour à l'introduction